To me, it seems, the cinema of Sergei Parajanov began not with the "Shadows of Forgotten Ancestors," as many think, but with "The Color of Pomegranate." Probably, besides the film language suggested by Griffith and Eisenstein, the world cinema has not discovered anything revolutionarily new until "The Color of Pomegranate," not counting the generally unaccepted language of the "Andalusian Dog" by Bunuel. |
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